Painting (19th Century) Flashcards
Edouard Manet, A Bar at the Folies Bergère,
1881‐82, Courtauld Institute Galleries, London
Gustave Courbet, A Burial at Ornans, 1849‐50
French Realism
Joseph Wright of Derby
A Philosopher Giving a Lecture on the Orrery, in which a Lamp is Put in Place
of the Sun, 1764‐66
Derby Museum and Art Gallery
Georges Seurat, A Sunday at La Grande Jatte, 1884, 1884‐
86
Art Institute of Chicago
Post-Impressionism: Divisionism
Benjamin West,
Agrippina Landing at Brundisium with the Ashes of Germanicus, 1768
Yale University Art Gallery, New Haven
Neoclassicism
Royal Academy- Benjamin West, Angelica Kauffman, and Joshua Reynolds
Benjamin West was an American artist who went to study in Rome in 1760 and returned to England in 1763, to remain there for the rest of his life. Upon his return, the Archbishop of York commissioned West to paint a story from Roman history, Agrippina returning from Syria with the ashes of her assassinated husband Germanicus. She was considered to be very noble and brave since it was believed that Emperor Tiberius who was Germanicus’ uncle and adopted father was responsible for the brilliant General’s demise. In West’s painting we see her as she lands in Brundisium carrying an urn with her two children Caligula and Agrippina junior, all dressed in white (the color of mourning) and is greeted by a large crowd of sympathizers who loved her husband and admired her courage and virtue. She stands composed, not showing her pain on the face of this tragedy which points to the stability of her character.
Agrippina Landing at Brundisium with the Ashes of Germanicus, conforms perfectly with the demands of the art scholars of the time who were appealing for a morally edifying art. Agrippina’s actions represented exemplum virtutis (example of virtue) meant to inspire paralel virtues in it’s viewers. West has highlighted Agrippina and her retinue in the middle of the painting in a freeze-like setting which is reminiscent of the friezes he must have seen in Rome. The ancient Roman city in the back forming a stage-like setting, Agrippina’s stoic stance and the dramatic lighting effects are all typical elements of neoclassical painting but some elements of the rococo style are also present. The crying women in the left forefront and the agitated boatmen on the right are worked out with sinuous lines and more vivid colors.
Benjamin West was one of the founders and the second president of the Royal academy in London, which was quite a way to go for a man from Pennsylvania, in such a class conscious society. Thanks to him, a lot of other American artists got established in England as students and professionals.
Jean‐Antoine Houdon,
Admiral de Tourville, 1781
Musée National du Chateau de Versailles
French Neoclassical Sculpture
Anton Raphael Mengs, Apotheosis of Hercules, 1762‐9 and 1775
Royal Palace, Antecamera de Gasparini, Madrid
Giovanni Battista Piranesi,
Aqua Marcia Aqueduct
Illustration in Della magnificenza dell’architettura dei Romani (pl. xxvi), 1765
Ilya Repin, Barge Haulers on the Volga, 1870‐73
Russian Museum, St. Petersburg
Russian Realism / Russian Wanderers
Peredvizhniki (Russian: Передви́жники, IPA: [pʲɪrʲɪˈdvʲiʐnʲɪkʲɪ]), often called The Wanderers or The Itinerants in English, were a group of Russian realist artists who in protest at academic restrictions formed an artists’ cooperative; it evolved into the Society for Travelling Art Exhibitions in 1870.
Barge Haulers on the Volga or Burlaki (Russian: Burlaki na Volge, Бурлаки на Волге) is an 1870–1873 oil-on-canvas painting by the Russian realist painter and sculptor Ilya Repin. The work depicts 11 labouring men dragging a barge on the Volga River. The men seem to almost collapse forward in exhaustion under the burden of hauling a large boat upstream in heavy, hot weather.[1][2]
The work is both a celebration of the men’s dignity and fortitude, and a highly emotional condemnation of those who sanctioned such inhumane labour.[3] Although they are presented as stoical and accepting, the men are largely defeated; only one stands out: in the centre of both the row and canvas, a brightly coloured youth fights against his leather binds and takes on a heroic poise.
Repin conceived the painting during his travels through Russia as a young man and depicts actual characters he encountered. It drew international praise for its realistic portrayal of the hardships of working men, and launched his career.[4] Soon after its completion, the painting was purchased by Grand Duke Vladimir Alexandrovich and exhibited widely throughout Europe as a landmark of Russian realist painting. Barge Haulers on the Volga has been described as “perhaps the most famous painting of the Peredvizhniki movement [for]….its unflinching portrayal of backbreaking labour”
he subjects include a former soldier, a former priest, and a painter.[9] Although Repin depicted eleven men, women also performed the work and there were normally many more people in a barge-hauling gang; Repin selected these figures as representative of a broad swathe of the working classes of Russian society. That some had once held relatively high social positions dismayed the young artist, who had initially planned to produce a far more superficial work contrasting exuberant day-trippers (which he himself had been) with the careworn burlaks. Repin found a particular empathy with Kanin, the defrocked priest, who is portrayed as the lead hauler and looks outwards towards the viewer.
Repin grew up in Chuguev in the Ukraine and was aware of the poverty and hardship of most rural life at that time. He spent two years travelling during which time he observed both the dachas of the rich and the toil of the common peasant. As such it can be considered a genre painting,[1] but treated on the heroic scale of history painting, as was often the case in 19th-century works, especially after A Burial At Ornans by Gustave Courbet (1850). Barge Haulers drew direct comparisons from critics with Millet’s works and Courbet’s The Stone Breakers (also 1850), which showed labourers at the side of a road.[15][16]
Edgar Degas, Ballerina and Lady with a Fan, 1885
Paul Gauguin,
Be in Love and You Will Be Happy, 1889
Alexandre Cabanel, Birth of Venus
1863
Musee d’Orsay, Paris
Antoine‐Jean Gros, Bonaparte Visiting the
Plague House of Jaffa, Salon of 1804
Musée du Louvre, Paris
Robert S. Duncanson, Blue Hole, Flood Waters, Little Miami River, 1851
Emile Bernard, Breton Women in a Prairie,
1888
Francois‐Joseph Heim,
Charles X Distributing Prizes after the Salon of 1824, 1825
Musée du Louvre, Paris
John Everett Millais, Death of Ophelia, 1852
Tate Gallery, London
Jacques‐Louis David
Death of Marat, 1793
Musées Royaux des Beaux‐Arts de Belgique, Brussels
Eugene Delacroix, Death of Sardanapalus
1827‐28, Musée du Louvre, Paris
Benjamin West, Death on the Pale Horse, 1817
Pennsylvania Academy of Fine Arts, Philadelphia
William Morris
Detail of Pimpernel wallpaper, 1876
J. M. W. Turner, Dido Building Carthage
or Rise of the Carthaginian Empire, 1815
National Gallery, London
Elizabeth Jerichau‐Bauman
Double Portrait of the Grimm Brothers, 1855
German Romanticism
Polish-born Danish painter. She had great success abroad, however, and had a special following in France where she was twice represented at the World Fair in Paris, first in 1867 and again in 1878. In 1852 she exhibited some of her paintings in London, and Queen Victoria requested a private presentation in Buckingham Palace. Among the portraits presented to the Queen was her painting of Hans Christian Andersen, completed in 1850. Her work from this period is sometimes decorative and frequently sentimental but with a fine sense of colour and lighting.
In 1869-1870 Elisabeth traveled extensively in the Eastern Mediterranean and Middle-East, and again in 1874-1875 accompanied by her son Harald. She was able to gain access to the harems of the Ottoman Empire and as a result was able to paint scenes of harem life from personal observation, in contrast to most artists of the time, whose work on this popular subject was entirely derived from the imagination or other artists in the same position as themselves.
Edouard Manet, Déjeuner sur l’herbe, 1863
Francisco Goya, El Sueno de la Razon Produce Monstruos
(The Dream of Reason Produces Monsters), Los Caprichos, no. 43
1797‐8
Francisco Goya, Execution of the Rebels on the
Third of May, 1808, 1814
Museo del Prado, Madrid
Francisco Goya, Family of Carlos IV, 1800‐1
Museo del Prado, Madrid
Jean‐Baptiste‐Camille Corot
Fishing with Net, Evening, Salon of 1847
Musée Fabre, Montpellier
Gustave Caillebotte, Floor Scrapers, 1875
Musée d’Orsay, Paris
Charles Wild, Fonthill Abbey, 1799
Victoria and Albert Museum, London
Francois‐Auguste Biard,
Four O’Clock at the Salon, 1847
Musee du Louvre, Paris
The first Salon of 1667, organised by the Royal Academy of Painting and Sculpture in the Salon Carré of the Louvre, brought members of the Academy together for a joint exhibition.
The jury, preferring conventional painting, gradually became a symbol of conservatism. In the second half of the 19th century, the selection criteria for admission to the Salon were challenged. Other independent Salons and exhibitions began to appear alongside the official Salon (for example Courbet’s Pavilion of Realism). The most famous was the Salon des Refusés of 1863: in that year, 5,000 works were submitted to the jury of the official Salon, and 3,000 works were refused. Faced with the anger of the many frustrated artists, Napoleon III gave an exhibition space for the rejected works.
First edition. ‘François Auguste Biard was born in Lyon in 1788, and died near Fontainebleau in 1882. A painter without much talent, but an extremely clever person, he managed to fall into the good graces of Louis Philippe, who ultimately bought many of his paintings for Versailles. Biard travelled a great deal; he visited Egypt, the Middle East, and Spitzbergen, where he took Leonie d’Aunet with whom he lived at the time, and whom he later married. He visited Brazil in 1860. In Rio he succeeded in ingratiating himself with the Emperor, who in turn commissioned him to paint his portrait, as well as that of several members of the Imperial family. Biard travelled through Espirito Santo and up to the River Amazon by way of the coastal cities. He published the account of this journey in the magazine, Le tour du monde. In 1862 he assembled it into one volume, illustrated by Riou from his own sketches’ (Borba de Moraes).
Claude Monet, Gare St‐Lazare, Paris, 1877
Fogg Art Museum, Harvard Art Museum,
Cambridge, MA
Honoré Daumier, Gargantua, 1831
Jean‐Auguste‐Dominique Ingres,
Grand Odalisque, 1814
Musée du Louvre, Paris
Francois Boucher, Gracious Shepherd, 1736‐9
Salon de la Princesse, Hotel de Soubise, Paris
John Martin, Great Day of Wrath, 1852
Tate Gallery, London
Gustave Doré, Holland House, A Garden Party
Illustration from London: A Pilgrimage, 1872
